Klarinet Archive - Posting 000538.txt from 1995/03

From: niethamer@-----.BITNET
Subj: Re: Configurations: Schubert
Date: Wed, 22 Mar 1995 17:34:31 -0500

On Fri, 17 Mar 1995, Laura R Bornhoeft wrote:

> This might be a novel topic of discussion: Think about the performances
> of Schubert's Shepherd on the Rock that you have witnessed or
> participated in. How was the group set up; specifically, where was the
> clarinetist located?
>
> I played this piece for two graduate recitals last fall. The first was a
> recital given by the soprano. Her teacher had us set up so that the
> soprano was, as usual, standing in the curve of the piano. I was
> standing at the far end of the piano, on her left.
>
> The second recital, two weeks later, in the same hall, was an
> accompanying recital for the pianist (i.e., her major was in
> accompanying). Her teacher set us up very differently, and was very
> insistent that he was right; "everyone" does it like that. (He is a
> professional pianist in this city, and has played with [accompanied, but
> that might be too humble a term for him] some very well-known artists.)
> The soprano was in the usual location, but he had me standing on the
> right-hand side - behind the pianist! How was the pianist to know what
> the clarinetist was about to do? The pianist should be able to sense it
> - maybe with a little glance out of the corner of the eye. This setup
> visually puts the pianist at the center of the ensemble.
>
> I also have sensed that sometimes this piece is thought of as a solo with
> two accompanists and sometimes as a duet with one accompanist.
> And they wonder why so many of us are insecure...

When I have played this piece, usually it is with the singah in the curve
of the piano, and myself somewhat parallel to the pianist, but rotated
somewhat to face the audience. Everybody can see everybody else with
decent periforal vision.

I think this piece is a *trio*. Anyone who disagrees needs only listen to
Harold Wright, Benita Valente, and Rudolf Serkin (who plays the nicest
four bars in the piece for my money). Then compare it to any other
performance (pianist).*Then* tell me the piano is the "accompanist".

I've played the Shepherd "on the Rocks" enough times that I can do it
from memory if the singer does (*Never* upstage the singah, dahling!),
but once it got me in trouble (sort of). The soprano was "on the book" as
they say, so I put my music on the stand. Afterward, the pianist, who had
arranged the soiree, mentioned that he noticed that I'd played from
memory. Singah not happy. Oh well?

David Niethamer